⑴ 求英文版電影《簡愛》
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⑵ 在哪可以看到英國電影簡愛的英文影評
英國作家Charlotte Brinte的傳世經典，自問世以來不斷地被搬上舞台和熒屏。電影人對這個故事頗為熱衷，從早年的奧遜·威爾斯 Orson Welles（《公民凱恩》）版本到近期的威廉.赫特（《大寒》）版本，在歷時半個多世紀以來，伴隨著7、8個版本簡愛影片的誕生，不同的電影人在各自的作品中用自己的角度闡述對作品的理解，同時也推動了這部經典名著在全球的普及。
1970年的George C. Scott飾演的版本歷來被認為是所有版本中改編得最恰到好處的－－既忠實於原著精神，且故事結構更為緊湊，愛情主題更加突出。蒼涼靜謐的英國荒原，神秘詭異的古堡，陰郁迷離的氣氛，加上「老戲骨"George C. Scott的表演，將一個維多利亞時代歌特式的愛情故事演繹得凄美動人。George C. Scott的表演無疑是本片的一大看點，他的激情演繹使其他版本的Rochester黯然失色，其鋒芒直逼早年的Orson Welles。而Susannah York外表沉靜，含蓄內斂的風格也被評為最接近原著簡愛的精神氣質。本片的主題音樂更是大手筆，它出自著名音樂人約翰.威廉姆斯之手，這一主題曲把本片的愛情主題推向高潮，更成為該版本的標簽，至今仍在不同的音樂會上被演奏。
對於中國觀眾，這一版本的意義尤為特殊——它被無數次地製成錄音剪輯，在全國各地的電台一播再播：它被製成各種版本的錄音帶，被「聽迷」們爭相購買，聽這部電影著迷的人甚至比有機會看這部電影的觀眾還要多。對於出產了無數配音電影精品的上海電影譯制廠，《簡愛》堪稱精品中的精品。在觀眾每一次選出的配音作品中，《簡愛》無不位列三甲。它從台詞翻譯到演員表演，無不成就了一種典範。這是配音大師邱岳峰與李梓的顛峰之作，他們用聲音拓展了新的表現空間，豐富了電影這一「視聽」的藝術在聽覺上的美好體驗。邱岳峰塑造的羅切斯特，或憤懣，或柔情，或倦怠，或狂暴，無不讓人動容。而李梓演繹的簡愛在不慍不火的聲調里展現出細膩的情感變化，或溫婉，或堅定，也在更深層次上豐富了簡愛人物的形象。他們的聲音有表情，有形象，有情感，一寸一寸都是鮮活的。
本片是20世紀70年代初拍攝的小成本電視電影，雖然由明星喬治·斯科特擔綱主演，但國外觀眾對其評價不高，在國外電影市場基本上沒有什麼影響力，是上海電影譯制廠表演藝術家們的精湛技藝使得她面貌煥然一新，成為觀眾心目中外國電影經典之作。經過邱岳峰和李梓主配之後，多少觀眾為之傾倒，甚至有人在寒冷的冬夜剛看完這部片子步出影院，便滿懷激情吟誦起羅切斯特和簡愛的對白來。簡愛的愛情觀、價值觀、人生觀對不少女性產生了巨大的影響，孕育了一批中國式的女權主義者。大夥欣賞之餘，還找來原著細細品讀、比較 。
這是一部特殊的電影，觀眾可以閉上眼睛，傾聽這來自靈魂的聲音。
如果問譯製片里有哪部影片可以稱得上是「聖經」的話，那一定就是她了。
⑶ 簡愛電影的英文影評。
A fast hour and a half
of psychological doom and gloom, and glimmers of happiness through true
love trounced by the realities of 1840 England. It's all pretty amazing
stuff, and you have to see it to believe it, those dark clouds and
sprawling stone buildings.
Yes, Orson Welles is the lead male here, Mr. Rochester, and he's a
physical presence, for sure, but a stiff one. As just one slightly
unfair comparison, watch how Lawrence Olivier handles being lead male
in a similar era (1939) Bronte film, Wuthering Heights. It's unfair
because this earlier movie, directed by William Wyler, is even better
than Jane Eyre. But here we have an actress who wowed the world in the
masterful Rebecca in 1940, and with Olivier himself, and if you see
this Hitchcock movie, based on a Daphne Maurier book, you'll see a
weirdly too similar echo of Charlotte Bronte's plot, complete with
mysterious master of the house and a big fire at the end.
This big mix and match is meant only to say that this kind of movie,
this kind of plot, reached a fever pitch in the early 1940s and
proced three masterpieces. You should see them all, and see the
influences back and front and sideways. Great stuff, with Jane Eyre the
third in line, made by the lesser known British director Robert
Stevenson (who had this one early success and then the other one, Mary
Poppins, of all things). But it was based on an Orson Welles radio
version of the story, which you can feel in the narrated lines with
Joan Fontaine's voice. You sense Welles had a hand in the whole feel of
the movie, the camera angles in the early scenes (looking up or down at
the child), and the overall Gothic excess and fog.
Great stuff to just feel and absorb.
⑷ 關於簡愛電影的英文字幕
那麼多版本，去射手找
⑸ 電影簡愛的英文對白
夏洛蒂·勃朗特的《簡愛》我已經看了N遍了，改編成電影以後也欣賞了很多遍。尤其是這段由李梓、邱岳峰配音的精彩對白，多年來一直鍾情，下面就一起來欣賞一下吧！
羅切斯特：還沒睡
簡：沒見你平安回來怎麼能睡！梅森先生怎麼樣？
羅：他沒事！有醫生照顧。
簡：昨兒晚上你說要受到的危險，過去了？
羅：梅森不離開英國很難保證！但願越快越好！
簡：他不象是一個蓄意要害你的人！
羅：當然不！他害我也可能出於無意！坐下。
簡：格雷斯·普爾究竟是誰？你為什麼要留著她？
羅：我別無辦法！
簡：怎麼會~
羅：你忍耐一會兒，別逼著我回答！我，我現在多麼依賴你！
唉，該怎麼辦？簡！有這樣一個例子，有個年青人，他從小就被寵愛壞了，他犯下個極大的錯誤。
不是罪惡，是錯誤，它的後果是可怕的，唯一的逃避是逍遙在外，尋歡作樂。
後來他遇見個女人，一個二十年裡他從沒見過的高尚女人，他重新找了生活的機會，可是世故人情阻礙了他，那個女人能無視這些嗎？
簡：你在說自己？羅切斯特先生？
羅：是的！
簡：每個人以自己的行為向上帝負責，不能要求別人承擔自己的命運，更不能要求英格拉姆小姐！
羅：哼！你不覺得我娶了她，她可以使我獲得完全的新生？
簡：既然你問我，我想不會！
羅：你不喜歡她？說實話吧！
簡：我想她對你不合適！
羅：啊哈~，那麼自信！那麼誰合適？你有沒有什麼人可以推薦？哼！唉~
你在這兒已經住慣了？
簡：我在這兒很快活！
羅：你捨得離開這兒嗎？
簡：離開這兒？
羅：結婚以後我不住這兒了！
簡：當然！阿黛勒可以上學，我可以另找個事兒。……我要進去了！我冷！
羅：簡！
簡：讓我走吧！
羅：等等！
簡：讓我走！
羅：簡。
簡：你為什麼要跟我講這些？她跟你與我無關！你以為我窮，不好看，就沒有感情嗎？
我也會的！如果上帝賦予我財富和美貌，我一定要使你難於離開我，就象現在我難於離開你。
上帝沒有這樣！我們的精神是同等的，就如同你跟我經過墳墓將同樣地站在上帝面前。
羅：簡~
簡：讓我走吧！
羅：我愛你！我愛你！
簡：不！別拿我取笑了
羅：取笑？我要你！布蘭奇有什麼？我對她不過是她父親用以開懇土地的本錢！ 嫁給我！簡！說你嫁我！
簡：是真的？
羅：唉！你呀！你的懷疑折磨著我！答應吧！答應吧！
簡：我愛你,愛德華.（簡依偎在羅切斯特的胸前，羅切斯特緊緊地抱住了她）
羅：上帝饒恕我！別讓任何人干擾我！她是我的！我的！
⑹ 請問英文版《簡愛》電影中哪個片段比較經典
fijdhfyvvgfn jffaadfsdfjadjkfhafjhdsflkdlf;k(暗語)
⑺ 求電影簡愛，雙語有字幕版（中英對照），最好是1996年版
你下載個風行 在裡面搜就行
⑻ 電影《簡愛》中簡答應求婚的英文台詞
JANE:Not the voyage,but the distance,and then the sea is such a barrier.
Edword:from what,Jane?
J:from england,sir.and from Thornfield.and...
E:sometimes i have the stangest feeling about you.especially when you're near me as you are now.it feels as though i had a string,tied here under my left rib where my heart is.tightly knotted to you in a similar fashion.and when you go to Ireland,with all that distance between us,i'm afraid this cord will be snapped.and i shall bleed inwardly,but you're sensible,you'll forget...
J:never!I'll never forget.i wish i'd never been born.Iwish I'd never come to Thornfield.
E:There are other houses just as fine.
J:How can you be so stupid?How can you be so cruel?I may be poor and plain, but I'm not without feelings!It's not the house but the life I lived here.I was not trampled on,I was not excluded.I was treated as an equal.
E:And so you are,Jane.And so...And so...
J:Yes so, sir.And yet not so, for you're a married man.or as good as married.Led me go!
E:please, stil...Don't struggle so...You're like a wild bird clawing at its cage.
J:I'm not caged bird,I'm a free human being.Independent with a will of my own.
E:Then stay.Stay and marry me.
J:How dare you make fun of me?
E:I mean what I say.Stay at Thornfield.Be my wife!
J:And what of Miss Ingram?
E:Miss Ingram,I don't love MissIngram,nor does she love me.Jane, you strange,almost unearthly thing.I love you as my own flesh.I beg of you to marry me.Say,"Edward,give me my name."Say Edward,I'll marry you."
J:Yes.Yes...Yes...
⑼ 急求《簡愛》《雙城記》電影英文版對白
《簡愛》經典對白
夏洛蒂·勃朗特的《簡愛》我已經看了N遍了，改編成電影以後也欣賞了很多遍。尤其是這段由李梓、邱岳峰配音的精彩對白，多年來一直鍾情，下面就一起來欣賞一下吧！
羅切斯特：還沒睡
簡：沒見你平安回來怎麼能睡！梅森先生怎麼樣？
羅：他沒事！有醫生照顧。
簡：昨兒晚上你說要受到的危險，過去了？
羅：梅森不離開英國很難保證！但願越快越好！
簡：他不象是一個蓄意要害你的人！
羅：當然不！他害我也可能出於無意！坐下。
簡：格雷斯·普爾究竟是誰？你為什麼要留著她？
羅：我別無辦法！
簡：怎麼會~
羅：你忍耐一會兒，別逼著我回答！我，我現在多麼依賴你！
唉，該怎麼辦？簡！有這樣一個例子，有個年青人，他從小就被寵愛壞了，他犯下個極大的錯誤。
不是罪惡，是錯誤，它的後果是可怕的，唯一的逃避是逍遙在外，尋歡作樂。
後來他遇見個女人，一個二十年裡他從沒見過的高尚女人，他重新找了生活的機會，可是世故人情阻礙了他，那個女人能無視這些嗎？
簡：你在說自己？羅切斯特先生？
羅：是的！
簡：每個人以自己的行為向上帝負責，不能要求別人承擔自己的命運，更不能要求英格拉姆小姐！
羅：哼！你不覺得我娶了她，她可以使我獲得完全的新生？
簡：既然你問我，我想不會！
羅：你不喜歡她？說實話吧！
簡：我想她對你不合適！
羅：啊哈~，那麼自信！那麼誰合適？你有沒有什麼人可以推薦？哼！唉~
你在這兒已經住慣了？
簡：我在這兒很快活！
羅：你捨得離開這兒嗎？
簡：離開這兒？
羅：結婚以後我不住這兒了！
簡：當然！阿黛勒可以上學，我可以另找個事兒。……我要進去了！我冷！
羅：簡！
簡：讓我走吧！
羅：等等！
簡：讓我走！
羅：簡。
簡：你為什麼要跟我講這些？她跟你與我無關！你以為我窮，不好看，就沒有感情嗎？
我也會的！如果上帝賦予我財富和美貌，我一定要使你難於離開我，就象現在我難於離開你。
上帝沒有這樣！我們的精神是同等的，就如同你跟我經過墳墓將同樣地站在上帝面前。
羅：簡~
簡：讓我走吧！
羅：我愛你！我愛你！
簡：不！別拿我取笑了
羅：取笑？我要你！布蘭奇有什麼？我對她不過是她父親用以開懇土地的本錢！ 嫁給我！簡！說你嫁我！
簡：是真的？
羅：唉！你呀！你的懷疑折磨著我！答應吧！答應吧！
簡：我愛你,愛德華.（簡依偎在羅切斯特的胸前，羅切斯特緊緊地抱住了她）
羅：上帝饒恕我！別讓任何人干擾我！她是我的！我的！
⑽ 簡愛電影英文簡介/介紹。求幫忙。暑假內回答。
一、《簡愛》是英國小說阿基夏洛蒂•勃朗特的作品，刻畫了一個女性的成長歷程。就讓我們一起重溫這部經典，來看看《簡愛》的英文簡介。 Jane Eyre is a novel by English writer Charlotte Brontë. It was published in London, England, in 1847 with the title Jane Eyre. An Autobiography under the pen name "Currer Bell". The Penguin edition describes it as an "influential feminist text" because of its in-depth exploration of a strong female character's feelings. 《簡愛》是英國小說作家夏洛蒂•勃朗特的作品，1847年在英國倫敦出版，書名定為自傳《簡愛》，以筆名「庫瑞爾•貝爾」署名。Penguin出版社的版次將小說譽為「具有影響力的女權主義文本」，因為小說深入探索了女主角的強烈情感。 The novel merges elements of three distinct genres. It has the form of a Bilngsroman, a story about a child's maturation, focusing on the emotions and experiences that accompany growth to althood. The novel also contains much social criticism, with a strong sense of morality at its core, and finally has the brooding and moody quality and Byronic character typical of Gothic fiction. 小說融合了三截然不同的寫作風格。小說文本是教育小說，講述了一個小孩的成長過程，聚 焦陪伴孩子成長到成人的情感和經歷。小說同樣含有不少社會批判的內容，強烈的道德感尤為突出。最後，小說還有哥特式小說特點，婉約曲折，人物嘲諷而浪漫。 It is a novel often considered ahead of its time e to its portrayal of the development of a thinking and passionate young woman who is both indivialistic, desiring for a full life, while also highly moral. Jane evolves from her beginnings as a poor and plain woman without captivating charm to her mature stage as a compassionate and confident whole woman. As she matures, she comments much on the complexities of the human condition. Jane also has a deeply pious personal trust in God, but is also highly self-reliant. Although Jane suffers much, she is never portrayed as a damsel in distress who needs rescuing. For this reason, it is sometimes regarded as an important early feminist (or proto-feminist) novel. 這部小說被認為走在時代的前面，因為小說刻畫了一個有思想、有熱情的年輕女子，她熱衷個人主義，期望完整的生活，同時有著高尚的道德操守。簡愛從一個清貧而平凡無奇的姑娘演變成一個富有同情、充滿自信的完整女性。隨著她的成熟，她開始對人性的復雜表達自己的見解。簡愛極度忠誠於上帝，但又非常獨立自主。雖然簡愛經歷許多苦難，她給人的印象從來不是一個需要救贖的可憐姑娘。因為這些原因，這部小說被認為一部重要的早期女權主義（或原始女權主義）小說。
或長一點的
Jane Eyre, is a poor orphan with a joyless life as a child in the opening chapters. Her wealthy aunt, the widowed Mrs. Reed, is bound by a deathbed promise to her husband to raise his orphaned niece, Jane. However, she and her children are unkind to Jane, never failing to emphasize how she is below them. Jane's plain, intelligent, and passionate nature, combined with her occasional "visions" or vivid dreams, certainly do not help to secure her relatives' affections.
When tensions escalate, Jane is sent to Lowood, a boarding school run by the inhumane Mr. Brocklehurst. She is soon branded a liar, which hurts her even more than malnutrition and cold, but Miss Temple, the teacher Jane admires, later clears her of these charges. She also finds her only friend in Helen Burns, who is very learned and intelligent, has a patient and philosophical mind, and believes firmly in God. Helen is often singled out for punishment by a teacher, Miss Scatcherd, who claims she is a bad child because she is disorganized, incompetent, and often late. Helen accepts these faults, and teaches Jane to accept discipline in order to improve her fiery temper and character. While Jane responds to the injustices of the world with a barely contained burning temper, Helen accepts earthly sufferings, including her own premature death from consumption (now known as tuberculosis), with calmness and a martyr-like attitude.
After a serious typhoid fever epidemic occurs simultaneously with Helen's death, the conditions in Lowood improve and Jane slowly finds her place in the institution, eventually becoming a teacher. When Miss Temple marries and moves away, Jane decides to change careers. She is desperate to see the world beyond Lowood and puts out an advertisement in the local paper, soon securing a position as governess in Thornfield Hall.
At first, life is very quiet with Jane teaching a young French girl, Adèle, and spending time with the old housekeeper, Mrs. Fairfax. But everything changes when the owner of the manor—brooding, Byronic, fiery Edward Rochester—arrives. Though on rough footing at first, he and Jane slowly become acquainted with and grow to respect each other. Mr. Rochester creates an elaborate set-up by seemingly courting a proud local beauty named Miss Blanche Ingram until Jane cannot bear it any longer. Mr. Rochester then admits that his courtship of Miss Ingram was a ruse to arouse Jane's jealousy and that it is she whom he truly loves. His feelings are returned, and they become engaged despite their differences in social status, age, and experience. Jane is young and innocent at nineteen years old, while Rochester is nearly forty—worldly, and thoroughly disillusioned with life and religion. Jane is determined to stay modest, plain, and virtuous, and Rochester is almost equally determined to offer her expensive presents and finery. The former has the moral high ground, though, and the weeks before the wedding are spent mostly as she wishes.
The wedding ceremony is interrupted by a lawyer, who declares that Mr. Rochester is already married. His mad wife Bertha Mason, a Creole from Jamaica whom his family forced him to marry, resides in the attic of Thornfield Hall, and her presence explains all sorts of mysterious events that have taken place ring Jane's stay in Thornfield. Mr. Rochester offers to take her abroad to live with him, but Jane is not willing to sacrifice her morals or self-respect for earthly pleasures, let alone accept the status of mistress, even though Rochester insists Jane will break his heart if she refuses him. Torn between her love for Rochester and her own integrity and religion, Jane flees Thornfield in the middle of the night, with very little money and nowhere to go.
She wanders for a few days and finally finds safe haven, under an alias, with a vicar, St. John Rivers, and his two sisters. They bond, and in e course Jane is given a position as village schoolteacher. Later, St. John learns Jane's true identity, and, by an incredible coincidence, it transpires that he and his sisters are actually her cousins. Additionally, Jane conveniently inherits a large sum of money from an uncle who lived abroad. The cousins are left without inheritance because of an old family feud, but she promptly splits the money so that all four of them are now financially secure. This gives St. John the means to pursue his true calling, to go to India as a missionary, but not without proposing marriage to Jane in order for her to accompany him. Though this is her opportunity to choose a husband of high morals, she knows St. John does not truly love her. Contrary to her protest, he insists they must be married if they are to go to India. Jane nearly succumbs to his proposal, but at the last minute, in another supernatural episode, she hears Rochester's voice calling her in the wind, and feels the need to respond to it.
Jane immediately travels to Thornfield Hall, only to find it destroyed by a fire and abandoned. She learns that Mr. Rochester lost a hand, an eye, and sight in the other eye as a result of an unsuccessful attempt to save Bertha from the flames, of which she was the cause. Upon acquiring the knowledge of his location, at a country manor called Ferndean, she sets off for it. She and Mr. Rochester reconcile and marry, for he has adopted love and religion. She writes from the perspective of ten years after their marriage, ring which she gave birth to a son and Mr. Rochester gained part of his sight back. Jane's long quest to find love and a sense of belonging is finally fulfilled. The book ends with a look at the noble missionary death of St. John Rivers far away in India, most likely representing the righteousness of the path Jane did not take.